Capsule reviews for Nov. 9

Chef Flynn

As with any halfway decent foodie documentary, the shots of the delectable dishes draw you into this compelling look at the life of teenage culinary prodigy Flynn McGarry. But the even-handed examination of life outside the kitchen provides the true main course. For those unfamiliar, Flynn gained notoriety for his cooking skills by age 10, supervised his own professional staff by age 13, and opened his own Manhattan pop-up eatery by 17. His privileged upbringing might leave a sour taste, especially with his overbearing mother always trying to steal the spotlight. Fortunately, the film acknowledges its subject’s talent while keeping the material honest rather than hagiographic. (Not rated, 83 minutes).

El Angel

The influence of producer Pedro Almodovar is apparent throughout this compelling Argentinian crime saga that doubles as a deadpan comedy and a coming-of-age drama and even a campy erotic thriller. Taking place in Buenos Aires in 1971, it’s based on the lurid true story of a mischievous teenager (Lorenzo Ferro) with a penchant for breaking into vacant houses and robbing them. Things get more serious when he becomes involved in a crime ring spearheaded by a classmate (Chino Darin) and his junkie father (Daniel Fanego). Although the characters aren’t sympathetic, the film benefits from stylish period visuals, subtle treatment of its homoerotic subtext, and charismatic performances. (Not rated, 118 minutes).

Here and Now

Since it deals with such tricky emotional material, the inauthentic moments are magnified in this melodramatic reworking of Agnes Varda’s Cleo from 5 to 7, making the overall impact feel hollow. It follows a Manhattan singer (Sarah Jessica Parker) over 24 hours after she’s potentially diagnosed with a brain tumor. As she traverses the city, she contemplates her future and debates whether to break the grim news to her overbearing mother (Jacqueline Bisset), her drummer (Common), her ex-husband (Simon Baker), and a former classmate (Renee Zellweger). Despite some powerful moments and Parker’s committed portrayal, the film’s meaningful intentions are compromised by overwrought visuals and narrative contrivances. (Rated R, 91 minutes).

In a Relationship

Like its title, this exploration of the romantic travails of a quartet of angst-ridden millennials has all the depth and personality of a Facebook status update. It starts with Hallie (Emma Roberts) and Owen (Michael Angarano) deciding whether they’re right for one another, while their friends Willa (Dree Hemingway) and Matt (Patrick Gibson) likewise explore an intimate relationship with mixed results. The main issue with the predictable script by rookie director Sam Boyd is that neither of the main characters is remotely sympathetic, so moviegoers likely won’t invest emotionally in whether they stay together. Then again, that’s preferable to spending more time with us. (Not rated, 92 minutes).

The Long Dumb Road

Perhaps the title is a little harsh, but this mildly amusing saga from director Hannah Fidell (A Teacher) charts a well-traveled path of road-trip and buddy-comedy clichés. Nat (Tony Revolori) is an aspiring photographer driving across the country to attend art school, and Richard (Jason Mantzoukas) is the loose-cannon mechanic he picks up when his car breaks down. Their resulting misadventures involve picking up two sisters (Taissa Farmiga and Grace Gummer) with issues of their own. Revolori and Mantzoukas generate some laughs as the mismatched protagonists, although the film itself bogs down in plot contrivances. A decent supporting cast is squandered in the process. (Rated R, 90 minutes).

The New Romantic

Hinting at contemporary relationship insight without offering any meaningful substance, this breezy romantic comedy is only sporadically engaging. It follows a college journalism student (Jessica Barden) whose dating advice column clashes with her real-life romantic frustration. So she tries a new approach with a professor (Timm Sharp) who’s willing to shower her with gifts in return for physical intimacy. As that arrangement inevitably crumbles, both sides reveal their ulterior motives. Barden’s endearing mix of curiosity and bashfulness enhances her character’s appeal. However, while the screenplay by rookie director Carly Stone makes repeated references to Jane Austen and Nora Ephron, such lofty comparisons exceed this project’s grasp. (Not rated, 82 minutes).

Pimp

It’s indeed hard out here for Wednesday (Keke Palmer), the intriguing title character in this otherwise derivative melodrama. She’s a tough-minded lesbian pimp in the Bronx trying to hustle amid gender barriers and a host of personal problems, including her the incarceration of her estranged junkie mother (Aunjanue Ellis) and her conflicted romantic feelings for her girlfriend (Haley Ramm) and a stripper (Vanessa Morgan). Despite the gritty milieu, the thin characters fail to elevate the stakes or humanize the macho posturing. Palmer’s committed portrayal generates sympathy more than the lurid screenplay by director Christine Crokos, which feels like an inauthentic glimpse into life on the streets. (Rated R, 86 minutes).

River Runs Red

Good intentions alone cannot save this heavy-handed drama about the racially charged ramifications of an urban police shooting. The killing involved a white officer and an unarmed black motorist, whose father (Taye Diggs) is a judge frustrated by the resulting police investigation, so he teams with a detective friend (John Cusack) and another grieving father (George Lopez) on a quest for justice that threatens his own livelihood. The film is technically uneven, and the earnest screenplay by director Wes Miller doesn’t adequately articulate the moral complexities in its provocative subject matter, instead transitioning into a clichéd vigilante thriller. Any thoughtful relevance becomes lost in the process. (Not rated, 95 minutes).

Weightless

A relentless sense of bleakness and heartbreak hovers over this deliberately paced, character-driven drama about a fractured family, which can be frustrating even as it conveys some powerful ideas about parenting and mental illness. It centers on a troubled small-town construction worker (Alessandro Nivola) forced to care for a bullied 10-year-old son (Eli Haley) he hasn’t seen for years. The two loners form a strange bond over their shared awkwardness as officials threaten to tear them apart over welfare concerns. Despite some strong performances and some haunting imagery, it’s difficult to establish a sufficient emotional connection with characters who are this internalized and withdrawn. (Rated R, 93 minutes).